探討電影《無主之作》虛構中的真實

Abstract

傳記片與真實和虛構的關係是圍繞該類型電影爭論最多的問題，由弗洛里安·亨克爾·馮·杜能斯馬克 (Florian Henckel von Donnersmarck) 執導的影片《無主之作》(Never Look Away, 2018) 也不例外。它講述了一位虛構的藝術家庫爾特·巴納特 (Kurt Barnert) 的成長經歷及早期藝術生涯的故事。很明顯其原型是基於德國當代藝術家格哈德·里希特 (Gerhard Richter)，僅管導演在影片中並沒有使用這位藝術家的真實姓名。除了電影主人公及其與真實人物的聯繫被評論家廣泛討論外，影片對歷史還原的準確性也受到批評。此外，影片也被指出在本質邏輯上依賴於成長小說的模式。基於以上問題，本文將深入探討導演在敘事上如何依賴於里希特的生活和作品，同時參考其他藝術家如浪漫主義畫家卡斯帕·大衛·弗里德里希 (Caspar David Friedrich) 和當代雕塑兼攝影家托馬斯·德曼 (Thomas Demand)，對藝術創作及其意義進行更廣泛的反思。本文還將討論影片文化史的重構問題，重點分析其中兩個片段，一個為開頭場景對1933年至1937年由納粹舉辦的墮落藝術展的回顧，另一個為1960年代杜塞爾多夫藝術學院的重塑。本文最後討論了影片本質上是如何遵循成長小說的結構以及其對傳記片重複敘事的套路問題的回應。

The biopic’s relationship to fact and fiction is one of the most debated issues surrounding the genre and Never Look Away (2018), directed by Florian Henckel von Donnersmarck, is no exception in this regard. This film that tells the story of the life and early artistic career of the fictional artist Kurt Barnert is clearly based on the German contemporary artist Gerhard Richter (b. 1932), although the director does not use the artist’s real name in the film. In addition to the discussion of the main character and his link to the real artist, the historical accuracy of the film has been criticized. It has also been frequently pointed out that the film’s logic essentially relies on the model of the Bildungsroman.Based on the above issues, this thesis will further explore how the director relies on Richter's life and works in his narrative, while at the same time elaborates a more general reflection on artistic creation and its meaning, in referencing other artists such as the Romantic painter Caspar David Friedrich (1774-1840) or the contemporary sculptor and photographer Thomas Demand (b. 1964). We will also discuss the reconstruction of the film’s cultural history, which involves two sequences, one of which is the opening scene that overlaps diverse Nazi-organized “Degenerate Art” exhibitionsthat took place between 1933 and 1937, the other one being the reshaping of the Academy of Arts in Düsseldorf during the 1960s. The paper concludes with a discussion of how the film essentially follows the structure of the Bildungsroman and responds to the repetitive narrative trope of the biopic.